DOCSLIB.ORG

The Platform of the Temple of Venus and Rome

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Platform of the Temple of Venus and Rome Proceedings of the Third International Congress on Construction History, Cottbus, May 2009 The Platform of the Temple of Venus and Rome C. González-Longo Architect, Edinburgh, UK D. Theodossopoulos University of Edinburgh, Edinburgh, UK ABSTRACT: The Temple of Venus and Rome at the Roman Forum was allegedly designed by the emperor Ha- drian himself and was inaugurated in 135 AD. Its construction upon the Velia hill and precedent structures re- quired an exceptional design and execution, including the provision of a massive 167x 100 m artificial plat- form. Distinct historical developments on the site like the Vestibule of Nero’s Golden House and the later construction of the medieval church and monastery of Santa Maria Nova as well as the Mussolinian operations of Sventramenti in the first half of the 20th century, have influenced the construction and altered the presenta- tion of the platform. This paper intends to discuss the strategy, design, construction and current condition of this example of a lesser-known field of Roman structural technology. Foundations and platforms of this kind can offer invaluable information on the function of a temple, its history and structural performance, but theirs study is often neglected. INTRODUCTION The exceptional complex that includes the Temple of Venus and Rome and the Monastery of Santa Francesca Romana has not been studied previously as a single site and the various stages and interventions in its history have always been viewed with partial reference to specific areas. The authors have tried in the recent years to link such stages to a more global architectural understanding and conservation approach to the entire site. One area that has been identified to contain potentially invaluable information on the development of the site is the substructure, which materialised around the construction of the massive Roman concrete platform, and the interaction with the existing structures. Archaeological and historical evidence will be discussed in terms of architectural analysis that aims to under-stand the development of the platform in classic Roman times and its uses during later occupations. Interpreting the evolution through key drawings and establishing the construction levels at critical sections have been valuable tools that allow for the first time the architecture of this crucial substructure to be discussed. Figure 1: The platform of the temple of Venus and Rome from the Colosseum Proceedings of the Third International Congress on Construction History, May 2009 THE SITE The Velia Hill Looking at the platform of the temple of Venus and Rome as it stands (Fig. 1), it is difficult to understand the original configuration of the area. The Velia is a saddle hill between the Palatine and Esquiline hills. Part of it was removed when Mussolinian opened the Via dell’ Impero (Via dei Fori Imperiali) in 1932. This enormous op- eration, although destroyed very important archaeological remains, allowed De Angelis D’Ossat to investigate the geology of the area (Fig. 2) in which the platform of the temple sits, composed by a thick layer of debris and made-soil above a rock of lithoid tuff on a marsh fluvial formation. The Velia has been occupied since ancient times. Its first occupation was most probably a small fortified set- tlement in the top of the hill (oppidium), one of the communities that celebrated the Septimontium, join other communities to form later the urbis. The hill is also mentioned as the location of the temple of Penatis, the tem- ple of Lares and the house of the Valeriis (Platner; Ashby 1929). The older remains identified so far are a series of structures, mainly to the North of the platform. They include a fine vaulted criptoportico studied during the Mussolinian works (Barosso 1940), perhaps part of Nero’s Domus Transitoria (Fig. 3, coordinates b-c, vi-viii). Figure 2: Geology of the area (after De Angelis D’Ossat 1935) showing the location of the platform Figure 3: Plan of the existing platform and the temple of Venus and Rome on the Velia Hill with indication of the topography, based on (Panella 1985, 1990) and (González-Longo 2004). Proceedings of the Third International Congress on Construction History, May 2009 Figure 4: a) View of the SW corner of the platform b) The foundations of the Arch of Titus to the right The Golden House of Nero After the great fire of 64 A.D. , Nero (reigned 54–68) built his Golden House around an artificial lake located where the Colosseum now sits. The Vestibule was placed on the Velia Hill, under the area in examination. Ac- cording to Suetonius, the Vestibule had a triple, mile long colonnade and contained the colossal statue of Nero impersonated as god Helios in the centre. The statue was 30 meters high, approximately the same height of the existing medieval campanile of the church of Santa Francesca Romana. Van Deman (1923) identified for the first time and established the level of the Via Sacra (the main street of the Roman Forum) at the time of Nero, part of the large urban transformation of this area after the fire. She dem- onstrated (Van Deman 1925) that the street had Porticus (solid arcades added as protection against fire), and that it led to the columnated square of the Vestibule on the Velia. The arcade ran through a mainly residential district originally, which at the time of Vespasian become a truly commercial area around the Horrea Piper- ataria, located in the area that the Basilica of Maxentius occupies today. The Arch of Titus After Nero’s death, the Flavii restructured the area. Titus (reigned 79-81 A.D.) completed the Colosseum, started by his father, Vespasian. After the death of Titus, his brother Domitian built the Arch of Titus on the Via Sacra to commemorate the capture and sack of Jerusalem. The Arch is located next to the platform of the temple (Fig. 4a) and sits on what appears as Neronian concrete foundations, although there is a slight change of orientation, probably due to the intention to make a visual relationship with the newly built Colosseum. The foundations of the arch have now been excavated down to the pre-Neronian level and exposed (Fig. 4b). The Temple of Venus and Rome The Temple of Venere Felix and Roma Aeterna was the biggest temple of Rome and one of the biggest of the Antiquity. It was allegedly designed by the emperor Hadrian (reigned 117-138 A.D.), starting its construction in 121 A.D. (there was already a project since 117 A.D.). He consecrated the still unfinished building on his return from Judea (136-137 A.D.) and it would be completed by his successor Antoninus Pius in 140 A.D. The site on the Velia had important symbolic and urban values for Hadrian, connecting the new and the old part of the city, and establishing an axial relationship with the Capitoline Hill, similar to the one between the temple of the Olympian Zeus (restored by Hadrian) and the Acropolis of Athens. However, the setting and ground conditions between the two temples were quite different. The temple in Athens was located in a large flat area, where the Roman temple was located in a hill with a number of precedent buildings and structures. The temple was a very large building, 113 x 56 m in plan and around 30 m high. It has an extremely interesting design, displaying the unique pattern of two back-to-back cellae, an example of Hadrian’s eclectic architec- ture, which combines Hellenistic proportions and urban presence with Roman spaces and construction tech- niques. In accordance with archaeological excavations (Panella 1985, 1990) and our own survey and study (González Longo; Theodossopoulos 2004), the temple was decastyle (with twenty-two columns at the sides), of Corinthian style, dipteral (two rows of columns in all facades), systyle (columns two diameters apart), and am- phiprostyle (free standing columns in the pronaos). The diameter of the columns is, according with our calcula- tions, 1.74 m (about 6 Roman feet), similar to temple of the Hadrianic Olympeion in Athens. The cella was raised by five steps from the surrounding stylobate. The temple had no podium, unlike the rest of Roman sa- cred architecture, but stands above a crepidoma of seven steps to the stereobate and seven steps from this to the stylobate (Figs. 3, 9). After some damage by fire in 283 A.D., the building was restored by Maxentius (reigned 306-312 A.D.), but it does not appear in use at the time. The decay of the temple started following Gratian’s Decree in 382 A.D. confiscating all properties of pagan cult, and is more severe after the bronze tiles were removed (between 626-629 A.D.) by Pope Honorius I in order to roof the old S. Peter’s. The great earthquake of 847 A.D. probably caused the collapse of the already decaying vaults of the roofless temple and the building slowly became an authentic materials quarry, providing not only stone, but also lime to other sites in Rome (Lorenzatti 1990). The columns were extensively reused in building the new St. Peter and St. John in Lateran. Between 1464-1471, Paul II ordered the removal of the massive peperino and travertine blocks of the foundations in order to be used in the building of Palazzo Venezia. Proceedings of the Third International Congress on Construction History, May 2009 Figure 5: Exposed concrete a) towards South b)with clay towards East c) drains towards Southeast Figure 6: a) Platform to NE b) Platform to North c) Neronian wall to the Via dei Fori Imperiali The Church and Monastery of Santa Maria Nova (Santa Francesca Romana) The first Christian presence in the site could have been between 314-335 A.D., when St.
Load more

Recommended publications
  • Hadrian and the Greek East
    HADRIAN AND THE GREEK EAST: IMPERIAL POLICY AND COMMUNICATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Demetrios Kritsotakis, B.A, M.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Professor Fritz Graf, Adviser Professor Tom Hawkins ____________________________ Professor Anthony Kaldellis Adviser Greek and Latin Graduate Program Copyright by Demetrios Kritsotakis 2008 ABSTRACT The Roman Emperor Hadrian pursued a policy of unification of the vast Empire. After his accession, he abandoned the expansionist policy of his predecessor Trajan and focused on securing the frontiers of the empire and on maintaining its stability. Of the utmost importance was the further integration and participation in his program of the peoples of the Greek East, especially of the Greek mainland and Asia Minor. Hadrian now invited them to become active members of the empire. By his lengthy travels and benefactions to the people of the region and by the creation of the Panhellenion, Hadrian attempted to create a second center of the Empire. Rome, in the West, was the first center; now a second one, in the East, would draw together the Greek people on both sides of the Aegean Sea. Thus he could accelerate the unification of the empire by focusing on its two most important elements, Romans and Greeks. Hadrian channeled his intentions in a number of ways, including the use of specific iconographical types on the coinage of his reign and religious language and themes in his interactions with the Greeks. In both cases it becomes evident that the Greeks not only understood his messages, but they also reacted in a positive way.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/85949 Please be advised that this information was generated on 2021-10-07 and may be subject to change. KLIO 92 2010 1 65––82 Lien Foubert (Nijmegen) The Palatine dwelling of the mater familias:houses as symbolic space in the Julio-Claudian period Part of Augustus’ architectural programme was to establish „lieux de me´moire“ that were specifically associated with him and his family.1 The ideological function of his female relativesinthisprocesshasremainedunderexposed.2 In a recent study on the Forum Augustum, Geiger argued for the inclusion of statues of women among those of the summi viri of Rome’s past.3 In his view, figures such as Caesar’s daughter Julia or Aeneas’ wife Lavinia would have harmonized with the male ancestors of the Julii, thus providing them with a fundamental role in the historical past of the City. The archaeological evi- dence, however, is meagre and literary references to statues of women on the Forum Augustum are non-existing.4 A comparable architectural lieu de me´moire was Augustus’ mausoleum on the Campus Martius.5 The ideological presence of women in this monument is more straight-forward. InmuchthesamewayastheForumAugustum,themausoleumofferedAugustus’fel- low-citizens a canon of excellence: only those who were considered worthy received a statue on the Forum or burial in the mausoleum.6 The explicit admission or refusal of Julio-Claudian women in Augustus’ tomb shows that they too were considered exempla.
    [Show full text]
  • Tour of the Early Church: Journeys of Paul & John with Dr
    Tour of the Early Church: Journeys of Paul & John with Dr. David Dockery Dr. Timothy George, Instructor May 22 - June 5, 2012 Day 1, Tue, May 22 DEPART USA and relatively inexpensive; and backgammon, the national We depart the USA today for our overnight journey to Istan- game of Turkey, is available in many different and unique bul. (meals aloft) sets. (B,D) Day 2, Wed, May 23 ARRIVE ISTANBUL Day 6, Sun, May 27 EPHESUS/KUSADASI We arrive to Istanbul and are met by our English-speaking We journey to Ephesus where Paul spent two years and guide and coach. We transfer to our hotel, the Hotel Golden which had become the capital city of the Roman Province of City, for dinner and overnight. (meals aloft,D) Asia by the time of John's ministry there near the end of the fist century. Ephesus as also the site of a most important Day 3, Thu, May 24 NICEA/ISTANBUL Church Council in 431 AD. We walk through history in a city Today we travel to Iznik, ancient Nicea, located in the north- founded as early as the 10th century B.C. In the magnificent east of Bursa on the side of Iznik Lake. Under Constantine excavations we see streets lined with wonderful public build- I when Christianity became the state religion, Nicea became ings such as the Baths of Scholastica, the Library of Celsus, an important religious center where two ecumenical councils the Temple of Hadrian, the Basilica of St. John, and the great were held, in 325 and 787 AD.
    [Show full text]
  • The Capital of Roman Province of Asia-Ephesus
    THE CAPITAL OF ROMAN PROVINCE OF ASIA-EPHESUS Location Ephesus is located between two hills with the silted ancient port and about three kms from Selcuk town. It belongs to greater Izmir province and 10 kms to Kusadasi, 65 kms to İzmir. The ancient town used to be the home of historical Greek and Roman ages so it grabs millions of visitors each year. There is a good connection to Ephesus from all over Turkey and it is only 40 minutes drive from the third biggest airport called as İzmir to Ephesus. Name The name comes from Hittite Word “ Apasas” due to Greek could not do the correct pronouncation so they converted it as Ephesus. It means “the bee “ so Ephesus was the city of the bee. The bee was minted on the coins dated 11th BC in Hittite period. History Ephesus has been known as the home of Greek Artemis, Roman Diana, one of the seven wonders of the ancient world, used to be center of the paganism about one thousand years, later it became the first of the seven churches of Revelation. First Pagan then Christian pilgrims made Ephesus as the center of their faiths like Vatican today so it was visited by millions each year. On the other hand, The port of Ephesus was the central of sea trade in antiquity between Asia, Macedonia(Europe) and North Africa. The first settlement in the area was done by Amazons according to some legends but the findings shows us Ephesus was first founded by Hittites about 13 th C BC and it fell into Greek hand after the fall of Troy in 11 th BC by Greek commender Androklos .
    [Show full text]
  • Foust Handout Images.Pdf
    Figure 2. Roman coin from 56 BCE under Pompey. The three trophies represent his three Figure 1. Trajan’s Column, open battle genre Triumphs.ii Scene (XXIV) i Figure 3: Dionysiac Cult Celebration, mid to late Figure 2: Scythian Funerary Sceneiv fifth century BCE.iii Figure 3: Portonaccio Sarcophagus, 190-200 CE, National Museum of Rome, for a general of Marcus Aurelius, showing battle with the Sarmatians. The trophy on the right shows a face mask used in battle. Another relief on the column of M. Aurelius shows a trophy with this type of mask.v Figure 5: Reliefs of the Temple of Hadrian, held at the National Archaeology Museum of Naples.vi Figure 6: Victory carrying the standard of military success from Hadrian’s temple on the Campus Martius, 145 CE, the location where the Roman Triumphs began.vii i From http://arts.st-andrews.ac.uk/trajans-column/the-project/numbering-conventions-and-site-guide/, Univ. of Saint Andrews, [accessed 6 July 2017]. ii Image from ancient Coin Search Engine; a similar coin also appears in Beard, The Roman Triumph, 20. iii https://www.britannica.com/topic/mystery-religion, Louvre, Paris. iv https://www.thecultureconcept.com/scythians-warriors-of-ancient-siberia-british-museum-show. v Open source image from https://en.wikipedia.org/wiki/Portonaccio_sarcophagus. vi http://ancientrome.ru/art/artworken/img.htm?id=7303 From the Temple of Hadrian on the Campus Martius, dates to 145 CE. (Museo archeologico nazionale di Napoli). This represents another image of a trophy. vii From http://ancientrome.ru/art/artworken/img.htm?id=7300 from http://ancientrome.ru/art/artworken/art-search-e.htm.
    [Show full text]
  • Waters of Rome Journal
    THE CLOACA MAXIMA AND THE MONUMENTAL MANIPULATION OF WATER IN ARCHAIC ROME John N. N. Hopkins [email protected] Introduction cholars generally conceive of the Cloaca Maxima as a Smassive drain flushing away Rome’s unappealing waste. This is primarily due to the historiographic popularity of Imperial Rome, when the Cloaca was, in fact, a sewer. By the time Frontinus assumed the post of curator aquarum in 97 AD, its concrete and masonry tunnels channeled Rome’s refuse beneath the Fora and around the hills, and stood among extensive drainage networks in the valleys of the Circus Maximus, Campus Martius and Transtiberim (Figs. 1 & 2).1 Built on seven hundred years of evolving hydraulic engineering and architecture, it was acclaimed in the first century as a work “for which the new magnificence of these days has scarcely been able to produce a match.”2 The Cloaca did not, however, always serve the city in this manner. Archaeological and literary evidence suggests that in the sixth century BC, the last three kings of Rome produced a structure that was entirely different from the one historians knew under the Empire. What is more, evidence suggests these kings built it to serve entirely different purposes. The Cloaca began as a monumental, open-air, fresh-water canal (Figs. 3 & 4). This canal guided streams through the newly leveled, paved, open space that would become the Forum Romanum. In this article, I reassess this earliest phase of the Cloaca Maxima when it served a vital role in changing the physical space of central Rome and came to signify the power of the Romans who built it.
    [Show full text]
  • Power and Nostalgia in Eras of Cultural Rebirth: the Timeless
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2013 Power and Nostalgia in Eras of Cultural Rebirth: The imelesT s Allure of the Farnese Antinous Kathleen LaManna Scripps College Recommended Citation LaManna, Kathleen, "Power and Nostalgia in Eras of Cultural Rebirth: The imeT less Allure of the Farnese Antinous" (2013). Scripps Senior Theses. Paper 176. http://scholarship.claremont.edu/scripps_theses/176 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. POWER AND NOSTALGIA IN ERAS OF CULTURAL REBIRTH: THE TIMELESS ALLURE OF THE FARNESE ANTINOUS by KATHLEEN ROSE LaMANNA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MICHELLE BERENFELD PROFESSOR GEORGE GORSE MAY 3, 2013 Acknowledgements To Professor Rankaitis for making sure I could attend the college of my dreams and for everything else. I owe you so much. To Professor Novy for encouraging me to pursue writing. Your class changed my life. Don’t stop rockin! To Professor Emerick for telling me to be an Art History major. To Professor Pohl for your kind words of encouragement, three great semesters, and for being the only person in the world who might love Gladiator more than I do! To Professor Coats for being a great advisor and always being around to sign my many petition forms and for allowing me to pursue a degree with honors.
    [Show full text]
  • Volume 63 February, 1989 Number 2 ROME, 1988 by Eileen Torrence At
    Volume 63 February, 1989 Number 2 ROME, 1988 by Eileen Torrence At Horace's Sabine Farm, we listened to presenta­ tions and recitations by group members and by guest Professor Eleanor Winsor Leach; we climbed to Fons Bandusiae to cool our feet and to play in its magical, musical waters. On another outing, the brave scaled Mt. Soracte in the rain (which I must confess I bypassed to visit a medieval Italian village). And of course, there were daily excursions through the hills of Rome. During these perambulations, especially when I missed the bus, the words of Vergil reverberated in my ears and pulse! "... facilis descensus... /sed revocare gradum superasque evadare ad auras,/hoc opus, hie labor est." But every step up was worth the effort, and I felt as though I were on top of the world when I celebrated my 25th birthday on the 25th of July, standing at the top of Trajan's Column! Gerhard "spiraled" us through as much of the Dacian Wars as daylight permitted. The expressions of horror and pain on the faces of the wounded and dying were disturbing, while the depictions of villages, camps, At the base of Trajan's Column, Rome, Italy. bridges, and aqueducts refined my textbook knowledge and understanding of these structures. I kept my camera The 1988 Summer Session at the American Academy busy during this privileged visit, and I shall always treas­ in Rome was literally filled with "highs" and "lows," and ure the unique photo opportunity of the Imperial Fora and all were magnificent illustrations of the complex structure the Markets of Trajan.
    [Show full text]
  • Copyrighted Material
    INDEX Achilles (subject) 42–43, 140, 156, 161, 170, 291; Arches Basilica 81 Figs. 2.23, 6.26, 10.19 Arc de Triomphe, Paris 359–360; Aemilia 135–136; Fig. 5.22 acroterion 33, 37, 39; Fig. 2.14 Fig. 12.26 Constantine, Trier 338–339; Figs. 12.4–12.5 Actaeon (subject) 176, 241; Figs. 6.33, 8.34 Arcus Novus, Rome 311 Nova, Rome 340; Figs. 12.6–12.7 Adamclisi, Tropaeum Traiani 229–230; of Argentarii, Rome 287; Figs. 10.14, 10.15 Pompeii 81–83; Figs. 4.5, 4.6 Figs. 8.20–8.21 of Constantine, Rome 341–346; Severan, Lepcis Magna 296, 299; adlocutio 116, 232, 256; Figs. 5.2, 8.24, 9.13 Figs. 12.8–12.11 Figs. 10.26–10.27 adventus 63, 203, 228, 256, 313, 350; of Galerius, Thessalonica 314–315; Ulpia, Rome 216; Fig. 8.5 Figs. 7.25, 8.23 Figs. 11.15–11.16 Baths aedicular niche 133; Fig. 5.20 of Marcus Aurelius, Rome 256; Fig. 9.13 of Agrippa, Rome 118, 185, 279 aedile 12 of Septimius Severus, Lepcis of Caracalla, Rome 279–283; Aemilius Paullus 16, 65, 126 Magna 298–299; Figs. 10.28, 10.29 Figs. 10.7–10.10 Victory Monument 16, 107–108; of Septimius Severus, Rome 284–286; of Cart Drivers, Ostia 242–244; Fig. 8.37 Figs. 4.30, 4.31 Figs. 10.11–10.13 of Diocletian, Rome 320–322; Aeneas 27, 121, 122, 126, 127, 135, 140, 156, of Titus, Rome 201–203; Figs. 7.22–7.24 Figs.
    [Show full text]
  • The Footsteps of the Great Apostle
    17 50th Anniversary Celebration Pilgrimage DAYS OUR LADY OF THE ROSARY, KELLYVILLE Accompanied by FR ALEJANDRO LOPEZ, OFM CONV. & The footsteps of FR LEONIDES MATEO, the Great Apostle OFM CONV. 14 NIGHTS / 17 DAYS. DEPARTS FRIDAY 14TH MAY 2021 Athens (2) • Cruise: Mykonos, Ephesus, Patmos, Rhodes, Crete, Santorini (4) • Corinth (1) • Hosios Loukas • Meteora • Kalambaka (2) • Berea • Kavala • Philippi • Thessaloniki (2) • Istanbul • Canakkale (1) • Istanbul (2). Optional Franciscan Extension to Italy - 9 nights SANTORINI HAGIA SOFIA, ISTANBUL SYMBOLS: (B) Breakfast, (L) Lunch (D) Dinner the Virgin Mary RHODES Our excursion today will include Ephesus, Today we come to the Island of Rhodes, where DAY 1: FRIDAY 14 MAY - DEPART AUSTRALIA the most famous of the Seven Churches of St Paul came during his third missionary DAY 2: SATURDAY 15 MAY - ARRIVE ATHENS Revelation (Rev 2:1-7) where St Paul spent journey (Acts 21:1). We enter the port, which more than two years in the course of his third was once dominated by the Colossus, one of Athens today is the thriving capital of Greece, missionary journey. It was to the Christian the seven wonders of the ancient world. but, more importantly, we have entered into community of Ephesus that St Paul wrote Shore Excursion: Rhodes & Lindos the world of the New Testament where St his greatest and most challenging letter (the Paul and his companions established the first Lindos is situated 55 km from the city of epistle to the Ephesians) and succeeded in Christian communities throughout his four Rhodes and “bears” above it the Acropolis of converting many away from worship of the missionary journeys.
    [Show full text]
  • Centro Storico
    PDF Rome Centro Storico (PDF Chapter) Edition 9th Edition, Jan 2016 Pages 37 Page Range 70–97, 214–222 COVERAGE INCLUDES: Useful Links • Neighbourhood Top • Sleeping Five Want more guides? Head to our shop • Local Life • Getting There & Trouble with your PDF? Away Trouble shoot here • Sights Need more help? • Eating Head to our FAQs • Drinking & Nightlife Stay in touch • Entertainment Contact us here • Shopping © Lonely Planet Publications Pty Ltd. To make it easier for you to use, access to this PDF chapter is not digitally restricted. In return, we think it’s fair to ask you to use it for personal, non-commercial purposes only. In other words, please don’t upload this chapter to a peer-to-peer site, mass email it to everyone you know, or resell it. See the terms and conditions on our site for a longer way of saying the above – ‘Do the right thing with our content’. ©Lonely Planet Publications Pty Ltd 70 Centro Storico PANTHEON | PIAZZA NAVONA | CAMPO DE’ FIORI | JEWISH GHETTO | ISOLA TIBERINA | PIAZZA COLONNA Neighbourhood Top Five io o rz anz 0000 a Bri a COLON0000NA M a n 0000 e i Vi t f c 1 gt on n Lu 0000 Stepping into the L M i a 0000 i ro ia d tti V 0000 ia c refe del Co 0000 Pantheon (p72) and feeling P V S ei d 0000 a ia l 0000 the same sense of awe that l V 0000 V e ia dell'O rs rso d the ancients must have felt o a i V 2000 years ago.
    [Show full text]
  • Chapter 1: Introduction…………………………………………………………………………1
    The Pennsylvania State University The Graduate School Department of Art History THE HADRIANIC TONDI ON THE ARCH OF CONSTANTINE: NEW PERSPECTIVES ON THE EASTERN PARADIGMS A Dissertation in Art History by Gerald A. Hess © 2011 Gerald A. Hess Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2011 The dissertation of Gerald A. Hess was reviewed and approved* by the following: Elizabeth Walters Dissertation Advisor Chair of Committee Associate Professor of Art History Brian Curran Professor of Art History Craig Zabel Associate Professor of Art History Head, Department of Art History Donald Redford Professor of Classics and Mediterranean Studies *Signatures are on file in the Graduate School. ii Abstract This dissertation is a study of the impact of eastern traditions, culture, and individuals on the Hadrianic tondi. The tondi were originally commissioned by the emperor Hadrian in the second century for an unknown monument and then later reused by Constantine for his fourth century arch in Rome. Many scholars have investigated the tondi, which among the eight roundels depict scenes of hunting and sacrifice. However, previous Hadrianic scholarship has been limited to addressing the tondi in a general way without fully considering their patron‘s personal history and deep seated motivations for wanting a monument with form and content akin to the prerogatives of eastern rulers and oriental princes. In this dissertation, I have studied Hadrian as an individual imbued with wisdom about the cultural and ruling traditions of both Rome and the many nations that made up the vast Roman realm of the second century.
    [Show full text]